Details
The Theory & Practice of Perspective
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9,99 € |
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| Verlag: | E-Kitap Projesi & Cheapest Books |
| Format: | EPUB |
| Veröffentl.: | 10.02.2024 |
| ISBN/EAN: | 9786155565168 |
| Sprache: | englisch |
| Anzahl Seiten: | 250 |
Dieses eBook enthält ein Wasserzeichen.
Beschreibungen
IT is much easier to understand and remember a thing when a reason is given for it, than when we are merely shown how to do it without being told why it is so done; for in the latter case, instead of being assisted by reason, our real help in all study, we have to rely upon memory or our power of imitation, and to do simply as we are told without thinking about it. The consequence is that at the very first difficulty we are left to flounder about in the dark, or to remain inactive till the master comes to our assistance.
Now in this book it is proposed to enlist the reasoning faculty from the very first: to let one problem grow out of another and to be dependent on the foregoing, as in geometry, and so to explain each thing we do that there shall be no doubt in the mind as to the correctness of the proceeding. The student will thus gain the power of finding out any new problem for himself, and will therefore acquire a true knowledge of perspective.
George Adolphus Storey
Book First
The Necessity of the Study of Perspective to Painters, Sculptors, and Architects
LEONARDO DA VINCI tells us in his celebrated Treatise on Painting that the young artist should first of all learn perspective, that is to say, he should first of all learn that he has to depict on a flat surface objects which are in relief or distant one from the other; for this is the simple art of painting. Objects appear smaller at a distance than near to us, so by drawing them thus we give depth to our canvas. The outline of a ball is a mere flat circle, but with proper shading we make it appear round, and this is the perspective of light and shade.
'The next thing to be considered is the effect of the atmosphere and light. If two figures are in the same coloured dress, and are standing one behind the other, then they should be of slightly different tone, so as to separate them. And in like manner, according to the distance of the mountains in a landscape and the greater or less density of the air, so do we depict space between them, not only making them smaller in outline, but less distinct.'
Sir Edwin Landseer used to say that in looking at a figure in a picture he liked to feel that he could walk round it, and this exactly expresses the impression that the true art of painting should make upon the spectator.
There is another observation of Leonardo's that it is well I should here transcribe; he says: 'Many are desirous of learning to draw, and are very fond of it, who are notwithstanding void of a proper disposition for it. This may be known by their want of perseverance; like boys who draw everything in a hurry, never finishing or shadowing.' This shows they do not care for their work, and all instruction is thrown away upon them. At the present time there is too much of this 'everything in a hurry', and beginning in this way leads only to failure and disappointment. These observations apply equally to perspective as to drawing and painting.
Unfortunately, this study is too often neglected by our painters, some of them even complacently confessing their ignorance of it; while the ordinary student either turns from it with distaste, or only endures going through it with a view to passing an examination, little thinking of what value it will be to him in working out his pictures. Whether the manner of teaching perspective is the cause of this dislike for it, I cannot say; but certainly most of our English books on the subject are anything but attractive.
All the great masters of painting have also been masters of perspective, for they knew that without it, it would be impossible to carry out their grand compositions. In many cases they were even inspired by it in choosing their subjects. When one looks at those sunny interiors, those corridors and courtyards by De Hooghe, with their figures far off and near, one feels that their charm consists greatly in their perspective, as well as in their light and tone and colour...
Now in this book it is proposed to enlist the reasoning faculty from the very first: to let one problem grow out of another and to be dependent on the foregoing, as in geometry, and so to explain each thing we do that there shall be no doubt in the mind as to the correctness of the proceeding. The student will thus gain the power of finding out any new problem for himself, and will therefore acquire a true knowledge of perspective.
George Adolphus Storey
Book First
The Necessity of the Study of Perspective to Painters, Sculptors, and Architects
LEONARDO DA VINCI tells us in his celebrated Treatise on Painting that the young artist should first of all learn perspective, that is to say, he should first of all learn that he has to depict on a flat surface objects which are in relief or distant one from the other; for this is the simple art of painting. Objects appear smaller at a distance than near to us, so by drawing them thus we give depth to our canvas. The outline of a ball is a mere flat circle, but with proper shading we make it appear round, and this is the perspective of light and shade.
'The next thing to be considered is the effect of the atmosphere and light. If two figures are in the same coloured dress, and are standing one behind the other, then they should be of slightly different tone, so as to separate them. And in like manner, according to the distance of the mountains in a landscape and the greater or less density of the air, so do we depict space between them, not only making them smaller in outline, but less distinct.'
Sir Edwin Landseer used to say that in looking at a figure in a picture he liked to feel that he could walk round it, and this exactly expresses the impression that the true art of painting should make upon the spectator.
There is another observation of Leonardo's that it is well I should here transcribe; he says: 'Many are desirous of learning to draw, and are very fond of it, who are notwithstanding void of a proper disposition for it. This may be known by their want of perseverance; like boys who draw everything in a hurry, never finishing or shadowing.' This shows they do not care for their work, and all instruction is thrown away upon them. At the present time there is too much of this 'everything in a hurry', and beginning in this way leads only to failure and disappointment. These observations apply equally to perspective as to drawing and painting.
Unfortunately, this study is too often neglected by our painters, some of them even complacently confessing their ignorance of it; while the ordinary student either turns from it with distaste, or only endures going through it with a view to passing an examination, little thinking of what value it will be to him in working out his pictures. Whether the manner of teaching perspective is the cause of this dislike for it, I cannot say; but certainly most of our English books on the subject are anything but attractive.
All the great masters of painting have also been masters of perspective, for they knew that without it, it would be impossible to carry out their grand compositions. In many cases they were even inspired by it in choosing their subjects. When one looks at those sunny interiors, those corridors and courtyards by De Hooghe, with their figures far off and near, one feels that their charm consists greatly in their perspective, as well as in their light and tone and colour...
George Adolphus Storey, son of James Payne Storey, was born in London on January 7, 1834. He moved to Paris with his elder brother, William, at age fourteen, in order to study painting and complete his education; there, he trained with Jean Louis Delong. Near the end of 1849, Storey returned to London and began to study under the English artist James Mathews Leigh. He exhibited at the Royal Academy in 1852-53, and was accepted to the Royal Academy schools in 1854. The Pre-Raphaelite Brotherhood influenced much of Storey's early work, though his subject matter was criticized as "too much and too varied." His early paintings, such as The Bride's Burial (1859), were so promising that some considered him a rival to Millais. However, Storey later abandoned Pre-Raphaelitism, which he felt was not a lucrative approach to painting.
During the 1850's Storey lived at his parents' home at 12 Marlborough Place, and became acquainted with the future members of the St. John's Wood Clique, including his future brother-in-law, Philip Hermogenes Calderon. After traveling in Spain in 1863, Storey became a founding member of the Clique. He met lifelong friends there, and the artists traveled together occasionally; they remained friends even when Storey no longer officially qualified as a member because he had moved away from St. John's Wood. In his early adulthood, Storey had a relationship with a woman named Frances, or Fanny (c. 1843–1914). They never married, but in 1866 had a son they named Robert Oliver Storey. They lived together for most of the 1870's, but ultimately separated in 1877. Afterward, Storey fled back to St. John's Wood to live near his old friends at 19 St. John's Wood Road.
In 1876, the Royal Academy elected Storey as an associate, and he began teaching perspective. He traveled around Europe giving lectures on the subject, but occasionally presented them in his own home. In 1882, Storey met his future wife, Emily Hayward (d. 1940), who often posed for his pictures. She is pictured in Storey's Artists at Home portrait by J. P. Mayall in 1884, and in another albumen print by an unknown photographer taken in 1883, in which she seated beside Storey in the garden, apparently wearing the same dress and hat. In 1886, Storey had his first child with Emily, a daughter named Mary Gladys Storey (d. 1978), who eventually became an actress. Storey himself died at his Hampstead home, 39 Broadhurst Gardens, at the age of 85.
During the 1850's Storey lived at his parents' home at 12 Marlborough Place, and became acquainted with the future members of the St. John's Wood Clique, including his future brother-in-law, Philip Hermogenes Calderon. After traveling in Spain in 1863, Storey became a founding member of the Clique. He met lifelong friends there, and the artists traveled together occasionally; they remained friends even when Storey no longer officially qualified as a member because he had moved away from St. John's Wood. In his early adulthood, Storey had a relationship with a woman named Frances, or Fanny (c. 1843–1914). They never married, but in 1866 had a son they named Robert Oliver Storey. They lived together for most of the 1870's, but ultimately separated in 1877. Afterward, Storey fled back to St. John's Wood to live near his old friends at 19 St. John's Wood Road.
In 1876, the Royal Academy elected Storey as an associate, and he began teaching perspective. He traveled around Europe giving lectures on the subject, but occasionally presented them in his own home. In 1882, Storey met his future wife, Emily Hayward (d. 1940), who often posed for his pictures. She is pictured in Storey's Artists at Home portrait by J. P. Mayall in 1884, and in another albumen print by an unknown photographer taken in 1883, in which she seated beside Storey in the garden, apparently wearing the same dress and hat. In 1886, Storey had his first child with Emily, a daughter named Mary Gladys Storey (d. 1978), who eventually became an actress. Storey himself died at his Hampstead home, 39 Broadhurst Gardens, at the age of 85.
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